M A ST ST E R C L A S S
B Y
S U S
AN KHALJ E
E l i m i nate ate sepa sep a rate at e faci ac i ngs fo fo r e d g e s e l e g a n t ed A
li ni ng techni techni qu e goes goes couture couture
G
enerally speaking independently appied facings are seldom used in couture garments While machine-sewn facings are a fast and easy nish for readyto-wear clothing couture coutu re gar ments use another approach. The cumbersome facing, aong with its seam alowances and rows of machine stitching and understitching is eliminated The seam alowances are then cut generously enough to serve as built-in/ cut-on facings. Linings are applied by handoen right up to the garment's edge An underlining is included to strengthen strengthen the area and a nd to serve as a base for the hand stitches that are a part of the process Using the shel shown at e I demonstrate how to apply a ining to a curved neckline and an arm hole edge for an elegant couture technique Susan Khale s a Threads contrbutng editor.
Cut three l ayers of fabric abri c The shel l has three layers: the fashion fashion abric the under li ning, and the lini ng (in thi s case, herringbone-we herringbone-weave ave raw silk, silk organza and si lk crepe de chine). When you cut out your your abrics abrics , increase the seam al lowances of the neck and arm hoes on your your commerc ial pattern or ms in from Y inch to 1 to 2 inches. They'l They'l be trimmed Vogue 81 07
down later. continued H �
TREADS
tHusqvarna
KNG
Tradition and tec h no l ogy meet
wit h M ' Li ss Rae H aw l ey an d
H U S qva rn a V-I k-I ng.
respected artist in mutiple mediums, M'Lss Rae Hawley combines traditional quilts wth textures, thread work decorative stitches, accessory feet and machine embrodery using the best in todays sewing technology, Husqvarna Viking. Eperience the power of a Husqvarna Viking Designer SE as well as the creativity of MLiss Rae Hawley through her patterns, books and designs and now her new collection of Robison-Anton Super Strength Rayon thread in colors to match her latest fabrics and embrodery designs With MLss Rae Hawley and Husqvarna Viking, the best of the past, present and fture of quiting can be yours, too
*At paticipating retales oly Coupo must be peseted to edeem. Coupons edeemable oly at poit of puchase Coupos canot be duplicated Limit one coupo pe custome No pio sales Canot be combined with ay othe oe Coupons ae good on in-stock items ony No special odes READER SERVICE NO. 1S3
MASTER CLASS
continued
Mark sealines Use old-fashioned
A WORD ABOUT UNDER LIN I NG FIRMLY WOVEN FABRIC When the fashon fabic is slk du pion, silk
wax-based tacng pape and
shantung, linen, o a silk-inen bend, use silk
a tacing whee to tansfe the
organza, lghtweight slk broadcloth, or cotton
neckline and amhole seamli nes
batste as the underi nin g. hey mimc the hand
fom you patten o mus lin
of the fashon fabics.
to you undelining and lining. Choose you cabon c oo cae
OFTER FABRIC
fully and tace lighty; it mustn't
For three- and fou-ply silk crepes and wool cepe
show though to the ight s de
fashion fabrcs, use slk cepe de c hine as the
of the fabcs.
undeln ng. It duplcates the flowing nature of these fabrics Si k oganza, for exampe, would be too firm and woud estrict the natu a flow of
Make the fashionfabric unit
the fashon fabics.
Handbaste the fashion fabic a nd the unde lin ing togethe following the taced maks. This doub le laye is the fashion fabic u nit.
Sew the sea Machne stitch the fashionfabic unit's shoulde and side seams; pess the seam alowances open. Repeat this s tep fo the i nng.
76
THREADS
Staystitch the curved openings Machin e-staystitch the neckl ine and armhole edges on the seam lines of both the fash ion-fabric u nit and the i ning.
Press before clipping
Clip the seam allowances
Press th e neckline and armhoe seam allowances on t he fashion
Aer this init ial pressing ci p the seam allowance as
fabrc unit toward the inside carefully ma nipu lating the fabric so
deeply and as oen as necessary to establ sh a smooth
that n o creases are pressed in. I nch ing your way careful y work the
undimpled curved a rmhole and neckline. Trim the seam al lowance
tip of the iron alo ng the seam lne By creating a memory of the folded ed ge in your fabric before clipp ing int o the seam al lowance, you discourage the little depressions that tend to appear alo ng cli pped cu rved edges. Favor the staystitching to fal l insid e the nec k edge to keep it hidden from the right sde.
down to % inch, and repress.
MASTER CLASS
continued
Sew in the lining
Tack sea allowances
Align the pressed edges, bring the li ning sl ightly inside the fash ion-fab ric edge and join it to the neckline and
Catchstitch the seam a llowances to the u nder
armhol e edges with small firm fell stitches, placi ng them right a t the
lin ing Perform the same pressing cli ppin g, and
fash ion fabric's l ine of staystitches
repressing on the l ini ng along its traced neck lin e and armhole edges.
Understitch the edges Prevent the l in ing from ever peek ing aro und th e edge of the fash Ion fabric by understitching it to the un derlini ng with a prickstitch (a tiny backstitch) Stitch ap proximately Y inch below the neckline edge and inside the armho le edges with each sttch catching the underlini ng and ining layers but not the fashion fabric.
THRED